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From Jacob Burckhardt's 2nd edition of the Civilization of the Renaissance in Italy; edited for this on-line publication, by ELLOPOS
» Full Contents of this Part
Page 6
For all the admirers of Cicero were by no means so one-sided as to consider him the only source of language. In the fifteenth century, Politian and Ermolao Barbaro made a conscious and deliberate effort to form a style of their own, naturally on the basis of their 'overflowing' learning, and our informant of this fact, Paolo Giovio, pursued the same end. He first attempted, not always successfully, but often with remarkable power and elegance, and at no small cost of effort, to reproduce in Latin a number of modern, particularly of aesthetic, ideas. His Latin characteristics of the great painters and sculptors of his time contain a mixture of the most intelligent and of the most blundering interpretation. Even Leo X, who placed his glory in the fact, 'ut lingua latina nostro pontificatu dicatur facta auctior,' was inclined to a liberal and not too exclusive Latinity, which, indeed, was in harmony with his pleasure-loving nature. He was satisfied if the Latin which he had to read and to hear was lively, elegant, and idiomatic. Then, too, Cicero offered no model for Latin conversation, so that here other gods had to be worshipped beside him. The want was supplied by representations of the comedies of Plautus and Terence, frequent both in and out of Rome, which for the actors were an incomparable exercise in Latin as the language of daily life. A few years later, in the pontificate of Paul II, the learned Cardinal of Teano (probably Niccolo Forteguerra of Pistoia) became famous for his critical labors in this branch of scholarship. He set to work upon the most defective plays of Plautus, which were destitute even of a list of the characters, and went carefully through the whole remains of this author, chiefly with an eye to the language. Possibly it was he who gave the first impulse for the public representations of these plays. Afterwards Pomponius Laetus took up the same subject, and acted as producer when Plautus was put on the stage in the houses of great churchmen. That these representations became less in common after 1520, is mentioned by Giovio, as we have seen, among the causes of the decline of eloquence.
We may mention, in conclusion, the analogy between Ciceronianism in literature and the revival of Vitruvius by the architects in the sphere of art. And here, too, the law holds good which prevails elsewhere in the history of the Renaissance, that each artistic movement is preceded by a corresponding movement in the general culture of the age. In this case, the interval is not more than about twenty years, if we reckon from Cardinal Adrian of Corneto (1505) to the first avowed Vitruvians.
Civilization of the Renaissance in Italy: Table of Contents
url: www.ellopos.net/politics/renaissance/default.asp
Cf. The Ancient Greece * The Ancient Rome
The Eastern Roman Empire (Byzantium) * The Making of Europe
